PUBLIC MARKS with tags "muso jikiden Eishin Ryu" & iaido

by Nicklaus Suino Sensei This article appeared in the "SMAA Journal" Volume 14, Issue 2 Few arts present as many challenges of detail as does Japanese swordsmanship. One of the most misunderstood aspects of Eishin Ryu iaido is the proper grip on the handle of the iaito (iaido practice sword), called “te-no-uchi.” The grip is crucial because it is the final lynchpin in the transmission of power from the body, through the arms, and into the cutting edge of the sword. A correct grip also provides “feel,” which increases awareness of the sword’s position and helps guide the edge through the correct path in cutting.

The first line of each couplet describes a natural phenomenon and the following line makes the point for the first line’s statement. This poem is not haiku but has a similar structure that sets a scene and follows with an allusion to an iaijutsu waza. The placement of the poem after the listed description of the Chuden wazas in the makimono suggests that it is not intended to be descriptions of or technical advice about the Chuden wazas. Rather the poem’s purpose seems to be to communicate the spirit and attitude that the practice of iaijutsu should develop. Therefore the poem should lead to understanding the spirit of iaijutsu.

This is koryuu iaido which means old school iaido, of the muso jikiden eishinryuu school, so if you practice iaido, don't use this video as a tutorial, but as a general reference to some universal iaido rules

(IPPONME) MAE (front advance) This technique is roughly equivalent to Mae of Muso Jikiden, or Shohatto of Muso Shinden Ryu. (...)The Muso Shinden noto is as follows (...) For Muso Jikiden proceed as follows.

I first met Iwata Sensei in England in August 2000. I found him to be a very interesting teacher with a strong personality. He is very knowledgeable in iaido and it's history, and is a strict sensei. I therefore wanted to do an interview to get some basic background information about this strong teacher. My friend Mr. Neil Kemp, from Britain, has trained under Iwata Sensei for years and has visited and trained in Japan many times with other senior students. He was going to Japan in November 2001 to once again learn from Iwata Sensei so I sent my questions to him and he kindly asked my questions and even expanded on them. In May 2002 Neil again visited Japan and asked some additional questions as I wished to focus further on some parts. So we got a long story, but I think you will be interested in it.

This should be done with a light bokuto and saya so as to be able to focus on the proper form and technique, not on strength or speed! Stand up practice should be done before seiza techniques, especially for beginners. Go slowly to get the "feel" of the proper technique. Every movement comes from the hara. For each movement, push the hara forward and slightly down, while opening the chest. Speed and strength come only after correct form. Points to remember: